The Christian Music Connection

Are you called to minister in music?

2006-07-29T08:51:00.000-04:00

Many years ago, Don did a very small concert years ago in Wyoming. Less than 50 people were there. Recently, a man named Pat Kline came to Don’s home. He is the founder of Asian Vision, a ministry which has led multiplied thousands to the Lord. Pat told Don that he had given his life to Jesus at that concert in Wyoming. That is the Lord’s economy. Music ministry has NOTHING to do with big crowds, big contracts and big money. It has everything to do with your willingness to hear God and follow him.

Do not hunt for a recording deal with a big company. This advice comes not only from our experience, but also from years of hearing the experiences of many, many well-known musicians. We cannot stress this enough: The big companies’ primary orientation is financial. This is a priority that does not mix with the expansion of God’s kingdom. Being contractually bound to an entity with goals that actually oppose yours can bring things to a halt or cause you to compromise. God has called you to have a ministry-- others can push you to have a career. Big companies will spend a lot on publicity for you. You may get bigger faster, but it will cost you dearly-- in ways you can’t imagine.

God, if you’ll let Him, will expand your ministry slowly, with your best interests in mind ...as your faith grows. Your ministry will be well grounded and lifelong. You might not be rich quick, but you will have something much better... “The blessing of the Lord makes one rich and He adds no sorrow with it.” Let your gift make a way for you.

You do not need to seek approval from men. Many in the music industry judge music solely by what they perceive is its sale ability. It may not help to submit your material to “experts” either: When he was young, Don was told by his music teacher that he had no talent whatsoever and that further lessons would waste his parents money! If you are called by God and anointed by His Spirit, you will have many opportunities.

PRACTICALLY SPEAKING
Concerts are where things begin. They are literally where the rubber (and you) meet the road! It is best to record after doing many successful concerts. You will have your songs down and you will know which ones are good. You will hear people begin to ask for a recording to take home. Nobody wants 1000 CDs sitting in their garage because they won’t sell. Let people know where they can contact you, or you them, when you recording is ready.

With regard to recording your songs, there are many creative options. There are project studios in abundance that have low and/or negotiable rates. Even better, if you have the aptitude and desire, you should purchase your own recording equipment. Either way, it is possible to put together a great sounding custom project for less than the price of a good used car.

Open your own publishing company, if you are a singer/songwriter. Never sign a song away to a “publishing company” that is associated with a record company-- you will have to pay to use your own songs for the rest of your life. Keep your publishing and your recorded masters in your own barn. They are your future, don’t lose them! A publishing company can be set up through ASCAP or BMI, and it is not expensive or difficult to do. Both of these companies have websites.... check them out. If you are strictly a writer and want to have your works performed by other artists, you’ll have to dig a lot deeper than we can here.

Be your own record label. By keeping the ownership of every aspect of your music ministry, you protect your freedom to follow the Lord. This is vital to the longevity of a ministry. Choose a creative name for your label and print it on your recordings. When things begin to grow, hire people you know who love the Lord to help you with the various organizational aspects of your ministry. We have good friends who help us with correspondence, travel, concerts, our finances and book keeping, web orders and so on...besides that, we pray and dream together.

Don't underestimate the financial side of your ministry. Think big and get ready for God to bless you! When God blesses a music ministry with abundant finances, it becomes possible to give into all sorts of Kingdom endeavors. This is the most exciting part of having any business. A successful music ministry is a double blessing because it is a ministry itself, and it can give into other ministries. Also, as you travel, you will come into contact with other ministries and outreaches that you would love to support. Your heart and desire for giving will grow. We are a part of an amazing worldwide body. That is why it is important to have your ducks in a row. Money isn't bad, the love of it is. In Jesus we are already wealthy beyond our wildest dreams... money is no big deal whether it is a lot or a little, it's all His anyway!

We recommend this model of music ministry because it is very satisfying and fulfilling. It allows the ministry to grow according to God’s timing and your faith. It allows your ministry to be an outgrowth of the Lord’s work in your life, which is what it should be. ............................................................Sing to the Lord a new song!

Written by Don Francisco
http://www.rockymountainministries.org/

The Myth of Getting Signed

2006-07-28T21:45:00.000-04:00

Today a lot of artists and bands have their hopes set on landing a big record deal, making millions, getting a hit song on the radio, and being on stage in front of hundreds of thousands of adoring fans! They think if they can just get a top record executive to hear their CD, theyll be called in to sign for a big record deal.

I have to confess, I had that fantasy too. But I've discovered over the years that my pursuit of getting discovered has led mostly to dead ends. I, like you perhaps, spent many months and many dollars recording a top-notch CD, and then sent it to every record label and radio station I could think of. Only to get back answer after answer that they just had so much music so many hundreds of bands wanting to get their music noticed that they couldnt possibly take it all it. In fact, if you surf the net, youll read on most Record Company web sites that they dont accept unsolicited material. What does unsolicited material mean? It means, if they didnt specifically ask you to send it, its unsolicited.

Okay, so its time for Plan B, right? Just play at places where the talent scouts will be! You know, like in the movies, you see the talent scout comes to secretly look for new, fresh talent to swoop up before someone else does? Friends of mine, who have had contact with several record industry people, have said generally talent scouts are not out lurking in the shadows waiting to recruit new bands. There are too many bands, too much competition, and too much to do.

So the chances of well-known talent scouts seeking you out or even just happening by where youre band is playing, are pretty slim , and the odds of getting discovered just by putting a CD together and sending it to a record label, are not high either. Usually the bands that do get discovered somehow had the right contact--someone in the band personally knows someone high enough up in the record business to notice them. They have an in.

So where does that leave the rest of us, who havent met that right personal contact yet? It leaves us needing to shift our focus from relying on getting discovered before we tour, to learning how to book our band ourselves, and get our music on the road even without a label!. Why wait around practicing in your garage, hoping someday youll get signed when you could be out there right now making a living and doing what you love bringing people to Jesus through your music! And who knows, while youre on the road building a fan base, just maybe the someone in the label industry will hear about your band through enough source, and youll get that right connection!

The 'DOs' & 'DON'Ts' for a great bio

2006-07-28T21:40:00.000-04:00

DON'Ts:

1. DON'T tell media people that your dog getting accidentally hit by the UPS truck, inspired you to become a singer/writer of sad-sack songs. Not to appear cold-hearted and uncaring, but media people do not care to this point. Besides, it's a widely known (and accepted) fact that UPS drivers drive much too fast, and will eventually run you over anyway. But, this is one of those little things in life we learn to accept early on in our driving.

2. DON'T inform media people of when you received your first guitar and, especially, that you received it at age 4. If you did not become a virtuoso or protege by the age of 7, or even 10 years of age with it, what does it really matter?

3. DON'T make a statement to the effect of, "When Uncle Harry and Aunt Sally first heard me sing along with the radio, they unanimously agreed that I was destined for both the moon and stars."

First off, there is a great chance that neither Uncle Harry, nor Aunt Sally, know anything about the music business, and/or how it works, nor how much work goes into every aspect of it, at every level. If you are going to believe either of them, might I also suggest your making a toll-free telephone call to that crazy woman, "Cleo," who keeps advertising, not only her ability to see your blind future, but also the high success rate of her Tarot cards? Interestingly, out of all her customer testimonials, not once have I heard any of them request to learn how long they have to live...hmm...

4. DON'T state that you are also a fine actor, and an equally talented athlete, with aspirations of film and professional sports careers. While this may present you as multi-talented, it will also present you as a soul desperate for success by any means. If you are seeking other professional positions, restrict those to their respective areas.

DO's:

1. DO convey to media people which elements make you, your music, and/or your career unique, i.e., sound, lyric arrangements, vocal arrangements, choice of instrumentation.

2. DO state what makes your live performances also unique, or which aspect(s) of your show audiences most like.

3. DO state any major industry awards or contests you have won through your music.

4. DO state widely recognized national acts you have headlined for and, more importantly, any major artists you have actually performed with within their own respective musical acts.

While this article has bluntly pointed out several specifics, both negative and positive, its overall intent is to inspire musicians to present more professional revelations and representations of themselves and their careers, as opposed to providing what often comes across to media people as dumbdowned, cookie-cutter content, simply created in the interest of serving as 'page-filler' within artists' media kits.

Alternative Sales Sources for Your Music

2006-07-28T21:34:00.000-04:00

Following, is a list of alternative sources that may be interested in carrying your music for sale for their particular clients and customers, if only they were aware of your music.

Most of the clients and customers are already "captive" audiences who are waiting on a product or service, so why not promote (and sell) to them as they wait?

Additionally, if these sources have their own in-house music system (which many do), you should also speak with them regarding adding your music to their own in-house "playlist."

In some instances, I have also suggested certain genres that I feel will lend themselves best to the particular businesses below, however, it will also depend on the businesses' own personal tastes as well.

=====================================

1. Music retail stores (Any)
2. Bookstores (Mostly soft, Jazz, New Age, but depends on store)
3. Flower shops (soft Folk, New Age, Jazz)
4. Boot stores (Country, Americana)
5. Western wear (Country, Americana)
6. Restaurants (Any, but depends on restaurant)
7. Church stores (Gospel, Christian)
8. Christian bookstores (Gospel, Christian)
9. Doctors' offices (Soft Rock, Pop Rock, New Age, Jazz)
10. Convenience stores (Any)
11. Airport gift shops (Any)
12. Bus station gift shops (Any)
13. Train station gift shops (Any)
14. Electronics stores (Any)
15. Office supplies (Any)
16. Corporate/company cafeterias (Jazz, New Age, Soft Rock)
17. Jewelry stores (Soft Rock, Jazz, New Age)
18. Barber shops (Any)
19. Beauty shops (Any)
20. Nail salons (Any)
21. Sports shops (Any)
22. Health clubs (Rock, Dance, Electronica)
23. Apartment management offices (Any)
24. Variety stores (Any)
25. Game arcades (Rock, Dance, Electronica)
26. Bed & Breakfast Inns (Jazz, New Age, Soft Rock)
27. Bridal consultants (Jazz, New Age, Soft Rock)
28. Bridal stores (Jazz, New Age, Soft Rock)
29. Tuxedo shops (Jazz, New Age, Soft Rock)
30. Bridal services (Jazz, New Age, Soft Rock)
31. Clothes cleaners (Any)
32. Mainstream clothing stores (Any)
33. Shoe stores (Any)
34. Coffee houses (Jazz, New Age, Soft Rock)
35. Computer stores (Any)
36. Eyeglass stores (Any)
37. Consignment shops (Any)
38. Farm supply stores (Country)
39. Flea markets (Any)
40. Swap shops (Any)
41. Formal wear stores (Any)
42. College bookstores (Any)
43. College music stores (Any)
44. Gift shops (Any)
45. Hardware stores (Any)
46. Hospital gift shops (Any)
47. Hotel gift shops (Any)
48. Insurance companies (Any)
49. Massage therapists (Jazz, New Age, Soft Rock)
50. Cellular telephone services (Any)
51. Motorcycle shops (Any)
52. Night clubs (Depends on the genre)
53. Party supply stores (Any)
54. Pawn shops (Any)
55. Cosmetic stores (Any)
56. Satellite dish stores (Any)
57. Thrift shops (Any)

A Quick Guide To Copyrighting Your Music

2006-07-28T21:25:00.000-04:00

Registration is NOT required for a valid copyright.

First, understand that you don't need to register your copyright with the United States Copyright Office in order to have a valid copyright. You have a valid copyright as soon as your song or sound recording is "fixed in a tangible medium of expression". This is a term used by the Copyright Act and means that your song or sound recording must be written down or recorded.

Although registration with the Copyright Office is not required to have a valid copyright, registration does provide several benefits:

* the establishment of a public record and evidence
of your claim as the valid copyright owner of your
songs and sound recordings

* the ability to file a federal lawsuit against someone
who uses your song or sound recording without your
permission

* eligibility to receive statutory damages and attorneys'
fees in the event you file and win a copyright
infringement lawsuit

THE REGISTRATION PROCESS

Registering your copyright is fairly straightforward. To register your copyright, you must send three items in the same package to the Copyright Office:

1) a completed application

2) A deposit of your song or sound recording

3) the filing fee (currently $30)

It will take the Copyright Office approximately six months to process your application and send you a certificate of registration. However, the effective date or your registration is the date on which the Copyright Office receives your completed application package.

THE APPLICATION FORM

Form PA is for filing a copyright of the song itself: the melody and lyrics, and chords. This is the "circle C" symbol: ©.

Form SR is to file a copyright on the sound recording. Usually the record label will do this, as it usually 'owns' the masters to the recording. This is the "circle P" symbol: (P). This 'protects' the actual recording (and recorded arrangement) of the song.

Form CA is to make a correction to a Form PA. If the song is significantly updated (musically, lyrically or otherwise. e.g. new co-writer) and has been previously filed for copyright, then Form CA should be used. This form can also be employed to 'break out' the individual titles within a song collection under copyright.

The Copyright Office will give you free applications along with detailed instructions for completing them. You can get the forms from the Copyright Office's internet site (http://lcweb.loc.gov/copyright/forms/). You can also request the forms by calling the Copyright Office's forms and publication hotline at 202-707-9100, or by writing to the Copyright Office
at the following address:

Library of Congress
Copyright Office
101 Independence Avenue, SE,
Washington, DC 20559

35 Tips for Self-Management as a Musician

2006-07-28T21:03:00.000-04:00

Most musicians say they want to make a lot of money with their music, but when it comes down to it, few are willing to do what it takes to have their music heard, promoted, and marketed. Self-management can be the cure-all for many dedicated, passionate, and talented musicians who are willing to put their careers on the line by working hard to carve out their own unique musical niche. The following tips are suggested for any musician who wants to manage their careers as a business. You need to develop the skills of being a good business manager. Here are 35 tips to get you started.

1. Know what you value most from making your music, and honor your values

2. Set up your music career as a business, (sole proprietorship, partnership, or corporation?) and keep good records

3. Decide what kind of career success you want, & evaluate your creative/business skills

4. Prepare an overview, or draft of a career plan that address your goals

5. Outline specific strategies to achieve your goals, and pick specific tasks to work on

6. Remember that getting there IS the trip, and once you arrive somewhere...where next?

7. Don’t forget that killing time also kills success

8. Don’t let a day go by without doing something to keep you to your plan

9. Stay focused on what you have planned to do, and don’t run away from it

10. Be sure to get regular feedback on your music from the music business contacts you have made

11. Stay informed: read books and articles on the business of music regularly

12. Organize your office space, and keep it organized

13. Practice your communication skills in person, as well as on the phone

14. Be sure to follow-up on any promises you have made to anyone in the business

15. Create a Webpage, and promote it aggressively.

16. Join and support music/musician associations; participate in membership activities

17. Remember that you are not alone as a musician, find unique networking opportunities

18. Don’t stay frozen in one belief system; be willing to let go and learn

19. When something doesn’t work…stop doing it, and don’t do it again

20. Be sure to give yourself time to stop and do nothing. i.e. Rest!

21. Keep your physical self in good shape, and eat a reasonably healthy diet

22. Identify who your most important friends and supporters are, and don’t forget them

23. At least once a year, study some topic you would not normally consider studying

24. Go out! Wherever your office is, take regular breaks, and pace yourself accordingly

25. Seek inspiration from unlikely sources

26. Don’t let any kind of success you create get to your head. Be grateful, and move on

27. Don’t blame other people for your struggles

28. Take advice only from those who have earned it

29. If you can’t or don’t want to do some particular task...don’t; hire out intelligently

30. Find out what your personal work rhythms are, and honor them

31. Nurture your relationship with fans, and communicate with them regularly

32. Only use attorneys, booking agents, and publicists with music business backgrounds

33. Realize that the unexpected may show up at any moment, and be able to react to it

34. Don’t follow trends, observe them and learn from them

35. Realize that performing, promoting, and marketing in non-traditional ways are much easier to do than trying to act like a superstar.

Planning Your Radio Promotion Campaign

2006-07-28T20:52:00.000-04:00

The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician. However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.

1) The money to fund the campaign
2) The time to spend working all the stations consistently
3) A product that is ready for national airplay

When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.

There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format.

If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services.

A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.

Below you will find an outline based on how professional record labels plan for their radio promotions.

You need to prepare:

A database of commercial and non-commercial stations that you realistically think may play your music.
The timeline you'll use to put the promotional material together (basically setting your deadlines).

Be sure to remember that your plan may be distributed to employees, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.

1) Design a detailed overview of your radio promotion plan.

Consider all marketing and promotional ideas listed below.
Propose what you think would work best in each of the areas to help market the record to radio.
Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you approach.
Remember you will need several practical tools/materials to achieve your goals. (Computers, hardware/software, office supplies, etc.).

Address the following specific topics in your plan:

Background/Goals: Give a brief history of the artist, and describe the goals of your plan.
Image: Describe and maintain the artist's image consistently in all promo materials.
Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (On-air concerts?) Hiring any Independent promoters?
Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to the music industry trades? Update any bios, fact sheets, and other press materials.
Sales: Describe Distribution and Retail plans. Any in-store play/ promotions? What other specific sales opportunities? Mail order, live shows, Internet website? Any store promotional tie-ins with radio stations?
Video: Is a video cost effective? What airplay opportunities are there for the video?
Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road. Consider specific clubs, halls, fairs, festivals, etc.
Any club/venue promotional tie-ins with radio stations
Advertising: Design an ad to be placed in the trades/ consumer music press, and other media? What funds are available for purchasing ads? Describe the costs/benefits?
Misc.: Record release party? Novelty item? Any other clever ideas? Explain clearly.

2. Design a 12 week plan for the product and promotional tools.

Lay out what needs to be accomplished each week to get the record out.
Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets, layout/design.
Include in the timeline when to start working on the promotional tools that you will need for your plan (photos, press releases, novelty items, display material, ads).
Design the timeline with deadlines for each element of your project.

As you can see, a radio promotion campaign is something that is done as part of a wider marketing plan. Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it. Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.

Make sure you have all the right ingredients

2006-07-10T16:43:00.000-04:00

Of all the clients whom I have represented in promotion and publicity through the years, unfortunately, many have not had their entire proverbial career 'ducks lined in a row'. As such, and based in part on this factor, many clients' music did not obtain the status that it so richly deserved.

Consequently, prior to working with them, I attempted to explain (and, to a number of deaf ears) that achieving a truly successful music career, in both notoriety and financially, is much like baking a cake.

To really create a great-tasting cake, consider that it requires the following ingredients as a minimum; flour, eggs, water, milk, baking soda, icing and, possibly, nuts of some sort. Now, that's a total of seven ingredients.

Similarly, a music career requires (and demands) multiple ingredients as well if it is to be a success, such as; radio airplay, press coverage, live performances, radio interviews, print feature interviews, music reviews.

The reasons (I feel) that many independent artists fall short of obtaining major success in today's industry, particularly, since the operational expenses of the industry are at their most minimal ever in the history of the industry, is a combination of a lack of efficient planning and a lack of proper selective marketing elements.

For instance, when releasing their new music, most recording artists have only radio promotion as a forethought for exposing their releases, although it is the most difficult for them to both obtain and maintain on their own. Distribution seems to run a distant second while print media publicity is, practically, never considered.

While no musician has the power of an android to stay awake twenty-four hours and concentrate all his waking hours on marketing, the truth is, it takes more than radio promotion to make a release a well rounded success.

So, let's review the ingredients necessary in order to bake a tasty music career 'cake'.

Ingredient 1: Radio Promotion:
Obviously, it goes without saying that radio promotion (broadcast, Internet, satellite and otherwise) is, by far and still, one of the most important avenues to bring exposure of your music to the masses. And, it is still easiest to realize airplay fastest on college, public and community stations.

Ingredient 2: Press/Print Media Coverage
However, if you only concentrate on radio promotion, you are leaving a significant media loophole if you are not also approaching the print media in the radio stations' areas that are giving you airplay. Because radio stations can be, to a degree, influenced by what is presented in its local print media.

And, the reverse is true as well, in that area print media will give more serious consideration of a feature interview or music review if it is aware that your music is also being aired on its area stations.

Ingredient 3: Live Performances
Live performances in your radio and print media areas are another strong aspect, and such performances are vital in order to capitalize on and support radio and print media efforts, as well as add additional income.

In attempting to get media coverage, it has become increasingly important for print media that artists are performing in the media's area, particularly if there is no existing radio airplay, before print media will grant coverage.

And, while I don't necessarily agree with print media's policy on this, especially, since readers can now easily purchase music online, they are, indeed, the 'gatekeepers' to print access whose rules we must abide by if we are to work with them.

Ingredient 4: Video Promotion
While once a luxury only major label artists could afford, not only has video production become an affordable reality for independent artists as well, but it is now also a vital necessity. In fact, if you are still not incorporating your singles into video, you are shortchanging yourself 'out the gate'. (See below for steps on how).

Ingredient 5: Distribution
It still amazes me how (and why) independent artists will release new music, and even send it out to stations and print media, nationally and even worldwide, with absolutely no distribution set up, neither online nor offline.

With these artists, I have to wonder if their music careers are simply hobbies. However, in my experience, most recording artists have either themselves invested money in both production and manufacturing, or someone has invested such for them.

Therefore, it is only financially logical that a recoupment and, hopefully, profit would be expected.

Again, success as an artist within the Music industry is not based on one single big thing (radio promotion), however, it is based on a number of little things occurring simultaneously to bring about one great big (hopefully) successful result.

Therefore, the best rule of thumb is to create a plan on paper by listing each of the above areas, then implementing a small portion of them on a daily basis. Much like mutual fund investments, your risk will then be made minimal while, at the same time, getting you noticed in wider areas.

And, that is how you bake your own successful music career 'cake'.

* Steps to Getting Your Video Singles Produced Cheaply *

1. After you have your mastered soundtrack, and have selected your first single, you should then contact an area college, university or art institute.

2. Tell the school's administration department that you need to get in touch with its "broadcast journalism" department.

3. When you reach the broadcast journalism department, ask to speak to an "advisor" or "department head."

4. Tell the advisor or department head that you are an artist interested in getting a music video produced, and that you would like to be put in touch with either a senior student or graduate student who is majoring in broadcast journalism with, perhaps, a concentration on "production" or "direction."

You may also want to stress your preference for a student who has experience with having produced music videos already. Depending on the size of the school, there will likely be several highly qualified student candidates.

My Top 8 for Getting What You Want in the Music Busines

2006-07-10T16:34:00.002-04:00

I know dozens of musicians and songwriters who are gifted at making music. However, it seems that only a small percentage of these talented folks ever rises above the fray and experiences substantial success. Even music people who are smart, personable, and driven often end up running out of gas and settle for working on their craft in obscurity. Why is that?

After meeting and observing many successful musicians, I've come to the conclusion that individuals who move beyond ordinary levels of achievement do a few simple things different. Most importantly, these people make good use of goal setting. The most successful musicians know what they want and make detailed plans for getting it.

What follows are eight steps you can take to get the most out of your long-term musical plans:

1. Decide specifically what you want.
Before you set out to conquer your music business goals, you have to know what it is you really want. Do you have a clear idea of what you're going after? Vague concepts about some day being a rock star lead to vague, weak actions in attaining them. However, detailed target goals -- such as selling 500 copies of your new CD, doing 10 radio interviews a month, generating 2,000 downloads of your free MP3 file -- keep you focused and on track.

2. Write down your plans.
Don't keep goals in your head. Put ink to paper or fingers to a keyboard and commit your aspirations to a tangible form. Writing down your goals adds another element of conviction to your intent to reach them. All of my accomplishments -- started as notes to myself jotted down in a notebook. Don't overlook the power of the pen.

3. Identify the information and resources you need to achieve your goals.
You may already know that it's a good idea to have a database that includes the names and addresses of your fans, media sources, industry contacts, and so on. In addition, you should make a list of the things you need to learn to reach your goals.

For instance, if you want to add a subscription form to your home page, do you know the proper way to use CGI scripts to create one? If you want to make MP3 files of your songs available, do you know how to convert a song from your CD to MP3 format? Look through your list of goals and figure out if a lack of knowledge is keeping you from making progress. Then get busy acquiring the information you lack.

4. Set deadlines.
Remember how you always got off your butt and went to work the night before a term paper was due? Deadlines have a way of motivating us to act. So do commitments we make to others and ourselves. Set a time limit for achieving each stage of your goal-setting action plan. Then do whatever it takes to meet those deadlines. Make sure your deadlines are realistic. They should strike a balance by being far enough away to allow you time to reach them, but soon enough to motivate you to meet them.

5. Create your plan.
To write the first draft of an action plan, start with the goal itself and work backwards through the process. Keep breaking down every stage of the plan into its most basic tasks, such as writing songs, recording, registering domain names, writing press releases, and more.

Next, make a short list of the primary things that need to be done first, making sure they're basic, attainable steps. For instance, if your goal is to get signed by a major record label, you wouldn't make calling Atlantic Records your first task. There is a whole series of preliminary steps you'd take long before you ever got near a major label.

6. Re-examine and refine your plan.
Long-term plans are not set in stone the moment they are written. They should be revised and improved. The first step to refining your plan is to get away from it for a while and let the details float around in your subconscious mind while you work on other things. Then come back to the plan with a fresh eye and start evaluating the logic in your sequence of events.

It doesn't have to be perfect. Don't fool yourself into thinking you can't get started just because there are a few things you don't yet know. Trust your abilities and know you can handle them when they come up.

7. Take Action.
Before long, you have to get busy working on the plan you've just created. It's tragic, but a lot of great ideas sadly wither away because the person who came up with them never takes action. Don't let this be your fate. Don't wait for nature to takes its mystical course. Vow to yourself that every day you will take some action based on your music career plan.

Even if you think you don't have time or you aren't feeling motivated, do at least some small deed every single day. Even if it's only playing with a new melody idea for a few minutes or sending one e-mail message to a fan, do something every day.

8. Measure Your Progress.
Once you come up with your musical master plan and start working on it every day, you have to know if your actions are leading you in the right direction. Are you moving closer to your goal or further away? Is the pace slower or faster than you anticipated? The only way to answer those questions is to regularly evaluate your plan and measure your progress.

If you find that you're way behind schedule on getting things done, ask yourself what you can do to get the result you really want. Making adjustments to your plan is an essential part of the goal-setting process. Be prepared to measure often and come up with solutions. When something is working, fit more of it into the plan. When other aspects prove to be duds, cut back or drop them completely. Fine-tuning is what goal setting is all about.

Now get busy formulating your goal-setting plan!

The Baseball Analogy

2006-02-11T02:20:00.000-05:00

The Baseball Analogy

Keith, from Indieheaven/Indie University and I had a great meeting with Tom Jackson recently. For those that don't know of Tom, he is the premiere performance coach in the CCM industry. He's got a great head on his shoulders and understands the industry inside and out. From our conversation yesterday, I came to the following conclussion: The Music Industry can be likened to Baseball How so you ask? Well, this is where the story gets long....

Let me first say that I apologize for making a sports analogy, I know there are some of you (my wife would be one) that don't care enough about pro sports to understand the intricacies of the system, so if I lose you, I apologize, but hopefully I've kept this broad enough to be understood.

In baseball, there are various levels: Little League (everyone can play little league). There's the minors (only those who have proven themselves good enough get here). And there's Major League Baseball.

In the music industry, there are three general artist camps "Label Artists", "Indies trying to become label artists" and "True Indie Artists". Within the two "Indie Camps" there are also three levels of artists "Professionals" (those that do their craft full time), "Semi-Pros" (those who do their craft part-time and are trying to get to full-time or are content doing the weekend gig), Beginners (those that do occasional shows.

Before you go any further, determine which camp you are in In baseball, each league has it's own "rules" of play.

In Little League, everyone is allowed to be on the team. The coach's job is to "train" the players to be the best they can be. Some of the Little League players will rise to the top and be "stars" some will drop-out with lack of interest or because they aren't "good enough" and many will remain in Little League as long as they can because they enjoy it, but they aren't good enough to move on to the "next level".

In the Minor's ... the best players of Little League are allowed to play. Some of these players are simply on a "layover" on their way to the Major's, but most of these players are thrilled to have the opportunity to play full-time and get paid for it. At this level are also players who were in the Majors but got cut and still want to play ball as long as they can.

The major leagues are the top of the pyramid ... of the hundreds of thousands (maybe millions) of players in the Little Leagues, only about 600 actually get to play in this league! That's it ... it's a tiny percentage, but that's what everyone aspires toward.

In music, the Labels are obviously the Major League. Only a small fraction of all of the artists in existence ever get a record deal. A statistic was thrown out that in the last year 300,000 CDs were recorded, of those less than 3,000 sold more than 1,000 copies. of that 3,000 less than 30 sold more than 100,000 copies.

Now, there are the Minor Leagues ... in Music, this is the "Indie" scene which is split into two camps "Those who want to remain Independent" and "Those who really want to get a Label deal". The Minor League, as far as music, is the place I would classify artists who have been able to make a career of music or are on the verge of making a career out of music.

The Little League ... well, suffice it to say, this is where most of us "play" the Little League is a great place. Some will "win the championship" every year, others will drop out after a year. There is a diversity of players, there are the Beginners (those who just got their first band together, those that have been playing in their basement for 10 years but never played live) there are the "semi-pros" who play out a bit, but don't play out a lot ... you could call them the weekend warriors as well.

Please understand, there is nothing wrong with playing in ANY of these leagues, but each league has it's own "rules".

I think for a while people have felt that if you're not "signed to a label" you're not worth much as a musician, tell that to Ani DiFranco. The real key is to learn the "rules" and "skills" of the league that you're playing in so that you can excel in your particular league.

The goal of INDIEHEAVEN is to help artists understand the rules of the League they're playing in. The first step is to admit, which league you're playing in. Then you need to learn the skills and rules of that league. Keith and I will be helping you discover those rules and skills as you go along the way, but you can't be a star at any level without putting in the effort to learn the basics then hone your skills.

So, What are the rules?
Ah, if it were that easy I'd be a millionaire. There are some basic principles regardless of which league you're in...

1. Know which league you're in. If you don't know which league you're in, you don't have any hope because you don't know which rulebook to use.

2. Accept the league that you're in. Pretending you are in a different league won't change the rules for the league you're in.

3. Be willing to LEARN. If you think you know it all you can't grow.

4. Never Burn Your Bridges.

5. Be EXCELLENT at what you do. If you aren't, work at it. Practice, Prepare, Practice, Prepare, Practice, Practice.

6. Relationships are key. Whether it means getting a gig at a venue or getting your van fixed in the middle of North Dakota, relationships will make or break you.

Here's some additional rules for the "little league" of music...

1. Live Performance is the core of what you do.
You can have the coolest T-Shirts, the best CD, and songbooks galore, but if you aren't playing out no one will hear your music. Focus your efforts on putting together a GREAT live show, make it something people will remember, that they will want to come back to. As you can afford it and as the demand is there, add the "trinkets".

2. Don't invest more money than you have.
Putting yourself in debt for the sake of ministry is STUPID. That's not to say if you've got 1000 people saying "we want your CD" that you wouldn't extend some credit to cover pressing 1000 CDs, but don't think because you invest $10k in a CD, 1000 people will come out of the woodwork to buy it.

3. Network.
You can't do this on your own. You've got to have others around you that help you. A Network is a two-way street, you can't just take, take, take, you have to be willing to give as well. If another artist shares 25 venue leads with you, you have an obligation to pay that forward and share those leads with other artists.

4. START LOCAL.
There's no point in living in Seattle and booking a gig in Orlando if you aren't on a Nationwide Tour. The expense of getting there will kill you (or the promoter) and the odds of you building support in that area are minimal. If you live in Seattle, book shows in Seattle, then expand to Yakima and Portland, Oregon ... then go from there.

5. Don't pass up an opportunity to promote what you do.
Carry Business Cards with you EVERYWHERE you go. You'd be surprised when you're at the local diner and you overhere someone saying "Man, we need an artist to come and play for our youth group" ... now, this isn't to say, force your business card on everyone you meet, but if an opportunity presents itself you don't want to scramble to get your information in people's hands.

6. Your live show is your vehicle. (did I already say this)
This is the most important thing you can do. No matter what level you're at, YOUR LIVE SHOW IS THE MOST IMPORTANT THING YOU DO in marketing your music to people.

Top 4 things to be a Full-time Christian Indie Artist

2006-02-11T02:09:00.000-05:00

Top 4 things to be a Full-time Christian Indie Artist
By Brant Christopher

I have been asked by a few friends to compile a list of things that you need to do in order to make a living at Christian music. So…below you will find my personal opinions on what you need to do to succeed. I will warn you that these are my opinions and not the ONLY way to succeed. There are always exceptions to the rule. However, these things have worked for me and thus I will share what I know. I am not going to sugar-coat anything so if you are easily offended…my apologies already Before I start…let me dispel a few myths.

Myth #1 If I had a Record label to support me…I could be full-time So So So Wrong. I have a better idea…go max out all your credit cards, take out a huge loan, borrow money from your family and live off that while you build your career in music. What? No takers? Why not? In effect, that is EXACTLY what you are doing with the label. You are living off of money that isn’t yours. When you are out busting your but touring to support your new CD…guess where the income goes? To pay back that money they gave you to live on. I am going to say this once…STOP CHASING A DEAL! The deal will find you if you are good enough. What you’d be offered as a no-name/no-momentum band will be close to nothing anyway. Go out and sell 10,000 copies of your self-produced demo and then we can talk about record deals and if they make sense. Until then…Just sing.

Ok here is the Top 4 list

1) Be Competent I heard Billy Joel once say that the reason he has been successful for so long is that he is competent. Most musicians are not as competent as they can be and thus fizzle out faster. If singing is your thing…take lessons, improve, study, PRACTICE! Same with your respective instrument. If you are only OK at playing…OK isn’t good enough for full-time. Period. There are plenty of mediocre musicians doing gigs for free that make it harder for you to make a living. So…be BETTER! Be much better. The back half of this is to accept the Truth. If your parents tell you that you are great...get a second opinion If strangers come up to you after a hearing you play and fawn over your music...now you are talking!

2) Have a GREAT recording So …you have practiced hard…prepared a good show…created moments to remember…now what? If you do these things well enough, others will want to remember as well. You need a recording of yourself. This is the first true key to Full-Time. A good recording will get you gigs…a bad recording will not. Great quality will also get you attention of industry folks as well. Any prayer of radio play, etc. will only happen if the quality is GREAT!

3) Be a Publicity Hound You need to take EVERY opportunity to promote yourself. Even the smallest opps can birth bigger and better chances to play. I started playing anywhere I could…parties, churches, youth groups, restaurants, charity events, business functions, bars, prisons, you name it…I’ve been there. Have a nice handout to give to people. People like Leann at Wall Printing can hook you up with nice clean pieces to give out to everyone at gigs. If there is another band playing in your area that has the same style as you…go to the gig and hand out YOUR material as people leave the venue. WHAT?!?!?! Commando style? YES! Full frontal assault on your prospective audience. Go visit your local radio station and offer to play for any events they might have coming up. Many times they have a Charity event they would love entertainment for. You need to go looking for it. If you are going to wait around for the opportunities to come flooding in…you are not Full-time material…sorry.

4) Think out of the box This phrase is overused. But it does hold true. I have done several things that many would never have thought of to survive. Here are some examples…

I play a Holiday Inn once a month in their restaurant/bar. I play 40+ cover songs over 3 hours. My arrangement is that they pay me in Priority Points. These internal points are funny money for the hotels. Giving you 20-30,000 points is nothing to them. BUT..it is 2-3 free nights at any Holiday Inn for you. VERY valuable when you are on the road. Limiting expenses is key to success. For the hotel…it is free entertainment. For you…it is free lodging. Win Win situation.

I play many coffeehouses around the US. One of the coffeehouses I played also was a Roastery, ie they roast their own beans and make their own brands. I offered to bring samples of their coffee to all the houses and drop them off. If the House places an order for coffee, the Roastery covers my expenses for the trip. Pretty sweet right? I know…why didn’t I think of that? Because you are not having to support yourself full-time Necessity is the mother of invention.

If you truly want to make your living performing, all of the above will help. However, if you are not willing to risk it all, don’t bother. I don’t want to rain on your parade and I understand we all have obligations…but if God has put a true CALLING in your life, there is nothing that should stand in your way. It is too easy to find excuses. I did it for years. And I was miserable playing part-time and experiencing small successes. Every second I wasn’t doing what God put on my heart, I felt disobedient. If you don’t feel the same way…that same indescribable pain that is in your heart…the pain that effects everything in your life…your work, marriage, relationships, etc…Full-time isn’t for you. And you know what…that is OK. Accept the truth if God calls you to part time ministry. Make the most of it. You can not force God’s Will!

But for those of you who know that it is all or nothing. I salute you and pray that God gives you the courage to answer the call and leave all reason behind. I’ll see you on the road!

Many Blessings,
Brant Christopher
www.brantchristopher.com
Hometown: Viera, FL Proverbs 3:5-6

Are you called to minister in music?

2006-01-13T12:02:00.000-05:00

Weigh your call and be settled that it is from the Lord. If He is leading you in this direction, He will provide EVERYTHING you need to expand His kingdom through music. You do not need fame and fortune to expand His kingdom. You can start right away.

Many years ago, Don did a very small concert years ago in Wyoming. Less than 50 people were there. Recently, a man named Pat Kline came to Don’s home. He is the founder of Asian Vision, a ministry which has led multiplied thousands to the Lord. Pat told Don that he had given his life to Jesus at that concert in Wyoming. That is the Lord’s economy. Music ministry has NOTHING to do with big crowds, big contracts and big money. It has everything to do with your willingness to hear God and follow him.

Do not hunt for a recording deal with a big company. This advice comes not only from our experience, but also from years of hearing the experiences of many, many well-known musicians. We cannot stress this enough: The big companies’ primary orientation is financial. This is a priority that does not mix with the expansion of God’s kingdom. Being contractually bound to an entity with goals that actually oppose yours can bring things to a halt or cause you to compromise. God has called you to have a ministry-- others can push you to have a career. Big companies will spend a lot on publicity for you. You may get bigger faster, but it will cost you dearly-- in ways you can’t imagine.

God, if you’ll let Him, will expand your ministry slowly, with your best interests in mind ...as your faith grows. Your ministry will be well grounded and lifelong. You might not be rich quick, but you will have something much better... “The blessing of the Lord makes one rich and He adds no sorrow with it.” Let your gift make a way for you.

You do not need to seek approval from men. Many in the music industry judge music solely by what they perceive is it’s saleability. It may not help to submit your material to “experts” either: When he was young, Don was told by his music teacher that he had no talent whatsoever and that further lessons would waste his parents money! If you are called by God and annointed by His Spirit, you will have many opportunities.

PRACTICALLY SPEAKING
Concerts are where things begin. They are literally where the rubber (and you) meet the road! It is best to record after doing many successful concerts. You will have your songs down and you will know which ones are good. You will hear people begin to ask for a recording to take home. Nobody wants 1000 CDs sitting in their garage because they won’t sell. Let people know where thay can contact you, or you them, when you recording is ready.

With regard to recording your songs, there are many creative options. There are project studios in abundance that have low and/or negotiable rates. Even better, if you have the aptitude and desire, you should purchase your own recording equipment. Either way, it is possible to put together a great sounding custom project for less than the price of a good used car.

Open your own publishing company, if you are a singer/songwriter. Never sign a song away to a “publishing company” that is associated with a record company-- you will have to pay to use your own songs for the rest of your life. Keep your publishing and your recorded masters in your own barn. They are your future, don’t lose them! A publishing company can be set up through ASCAP or BMI, and it is not expensive or difficult to do. Both of these companies have websites.... check them out. If you are strictly a writer and want to have your works performed by other artists, you’ll have to dig a lot deeper than we can here.

Be your own record label. By keeping the ownership of every aspect of your music ministry, you protect your freedom to follow the Lord. This is vital to the longevity of a ministry. Choose a creative name for your label and print it on your recordings. When things begin to grow, hire people you know who love the Lord to help you with the various organizational aspects of your ministry. We have good friends who help us with correspondence, travel, concerts, our finances and book keeping, web orders and so on...besides that, we pray and dream together.

Don't underestimate the financial side of your ministry. Think big and get ready for God to bless you! When God blesses a music ministry with abundant finances, it becomes possible to give into all sorts of Kingdom endeavors. This is the most exciting part of having any business. A successful music ministry is a double blessing because it is a ministry itself, and it can give into other ministries. Also, as you travel, you will come into contact with other ministries, and outreaches that you would love to support. Your heart and desire for giving will grow. We are a part of an amazing worldwide body. That is why it is important to have your ducks in a row. Money isn't bad, the love of it is. In Jesus we are already wealthy beyond our wildest dreams... money is no big deal whether it is alot or a little, it's all His anyway!

We recommend this model of music ministry because it is very satisfying and fufilling. It allows the ministry togrow according to God’s timing and your faith. It allows your ministry to be an outgrowth of the Lord’s work in your life, which is what it should be. ............................................................Sing to the Lord a new song!
Written by Don Francisco
Visit Don's Site http://www.rockymountainministries.org/

Musician...Educate Thyself!

2006-01-10T10:13:00.000-05:00

If you want a record deal, learn what a record deal is, and learn something about the business of music.

Naïve or mis-informed musicians are a menace to themselves. Enough already! Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today any musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)

Not so today. There are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars, and workshops are available on a year round basis in most major American cities. Consultants, Attorneys, and Business Organizations are all around and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.

I cannot stress how important I feel this issue is. I am here to tell musicians, one and all, that you have been told many things about music that you did believe. “Spend money on quality instruments and equipment”... you have done that. “Spend time and money on practicing and rehearsing”, you have done that, for the most part (see comments above).

“Spend time and money finding the best recording studio, producer and engineer you can”...you have done that. “Spend time and money learning all you can about the business of music”...well, no one told you to do that did they?!

It has been said about education that we don’t know anything until someone tells us. If that is true, the fault in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed. (Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business, a few hours now, can protect your future forever!

Attorney Fee Structures By Bobby Borg

2006-01-07T21:22:00.000-05:00

Samuel Butler once said, "In the law, the only thing certain is the expense." People know attorneys aren't cheap, and that's why they avoid calling them in the first place. As a result, they often fly blindly with no contract or they accept terms to agreements they barely understand—and inevitably they run into legal problems.

Attorneys typically charge their clients in one of three ways: by the hour, a flat fee, or a percentage of the deal they negotiate. On your initial meeting with an attorney, you want to be very clear as to which method it's going to be.

Hourly Fees

The hourly fees an attorney charges can range anywhere from $100 for a young attorney to $400 or more for a high-powered attorney. But before you freak out completely, you should know that hourly billing is not as common as some of the other fee structures discussed here. Nonetheless, an attorney who charges by the hour will typically send you a monthly bill. Find out whether you can use a credit card to make payments as well as whether you'll be charged interest for late payments. You may also want to ask if your attorney can set a cap on his or her costs in the event a case drags out for an extended period of time. It's also important to ask exactly how you'll be billed. For instance, you may be billed at increments of an hour. This means that you may be charged for a quarter of an hour for a phone call that only takes three minutes to make. Finally, ask what expenses you'll be charged for, such as faxes, photocopies, postage, messenger services, or even administrative work. Your bill should not only always be easy to understand, it should leave you with no doubts as to what you're paying for.

Flat Fees

Most attorneys are willing to provide a flat estimate of what their services will cost; in actuality, this is their hourly rate multiplied by the number of hours they expect it will take to complete a job. To draft a short agreement, for instance, your fee may be $500 plus out-of-pocket expenses such as faxes and phone calls. Negotiating a recording agreement can cost anywhere from $2,000 to $20,000 (and more). Of course if you have a friend who's an attorney, you may be able to talk him into to charging you much less.

Percentage of the Deal

Most attorneys are also willing to work for a percentage of the deals they negotiate. For example, an attorney may agree to work for 5 percent (which, by the way, is the industry standard) for negotiating a recording deal. Out-of-pocket expenses are again separate. When first meeting with an attorney, if your costs are expected to be more than $1,000, regardless of how you're being billed, you have the right to ask for a "fee agreement" in writing. A good attorney will suggest that you price shop to make sure his or her fees are reasonable.

Note that the fee most attorneys charge for what is known as a "label shopping agreement" is five percent of the income derived from the record deal. THIS MAY APPLY FOR THE FULL LENGTH OF THE DEAL. For instance, for every album your band records, your attorney may earn a five percent fee for initially shopping your band long after his job is done. For this reason, a "cap" may be negotiated as to how much the attorney's percentage will yield (e.g., $30,000 over the life of the recording deal).

Retainers

Some attorneys may ask for a retainer upfront against your legal bills. For example, if you pay a retainer of $500, and your attorney charges you $1,000 in legal services, the $500 retainer will be deducted from your bill. At that time, you may be asked to pay the $500 balance and another retainer to be held in trust for further services to be rendered. In the event that your attorney never earns the amount of the initial retainer, and you decide to discontinue your business relationship, the remaining retainer should be paid back; if you pay a retainer of $500 and your attorney's charges for the month are only $300, the extra $200 should typically be returned.

PRESS RELATIONS: WHO IS SPEAKING FOR YOU?

2006-01-05T21:59:00.000-05:00

PRESS RELATIONS: WHO IS SPEAKING FOR YOU?
by Jennifer Layton, Indie-Music.com
© 2005 All Rights Reserved.

We hate to do it. And in the six years that I've worked for Indie-Music.com, I've only seen our company do it three times. But if pushed, we will.

We have banned some managers, reps, and PR agents from submitting artists to our web site.

It's always a last resort. And no, I'm not going to say who they are. My purpose in even bringing it up is to ask you, the independent artist, if you know just how you are being represented. You may not realize it, but the person you've hired to open some doors for you may instead be getting them slammed, locked, and boarded up with enough plywood to hold back a category five.

Sounds dramatic, but bear in mind that it takes some pretty annoying behavior to make us tell a manager not to contact us anymore.

Sometimes the problem is simply laziness. A rep sends us a CD without filling out our submission form or providing any contact information. We manage to find the rep's email address and ask her to go back and follow our guidelines. She doesn't, but she keeps sending us CDs from all the other bands she's promoting. We keep asking her to follow the guidelines, she keeps ignoring us. Eventually, we put her email address on our "block" list, and every package with her company logo on it goes right into the trash can next to our box at the post office.

The message being sent by this rep is very clear: I don't care about these artists or think there's anything special about them. They're just a list of names. I'll just send their CDs out everywhere so I can tell them I'm actually doing something.

Occasionally, we get the bullies. We recently had a PR rep leave belligerent messages on our company voice mail, demanding to know why his artists had not yet been reviewed. I called him a couple of times, explaining that we don't guarantee reviews and that we ask for at least a couple of months' lead time. He left more messages over the next several weeks, demanding results for his bands and accusing us of putting his artists on hold because they don't advertise with us. (For the record, advertising is never a factor in who gets reviewed at Indie-Music.com.)

We eventually banned him from the site, which was necessary but a shame. I visited the web sites of the bands he represented, and they seem to be hardworking, talented artists. I'm pretty sure they have no idea how they are being marketed.

Some artists have found out, often after serious damage has been done to their reputations. I recently interviewed Cincinnati artist Jeff Goins, a studio producer, writer, and member of the Vic Daniels Quartet. Thanks to what he credits as good management early in the band's career, they had established solid and friendly contacts with venue owners in Cincinnati and had built a reputation as a talented and reliable band.

Then their manager got a divorce and moved to California. So Goins and his bandmates began looking for new management. After some searching, they thought they'd found a winner. (Goins cares enough about professionalism to ask that I not print the manager's name.)

"At first glance," he explains, "we thought he was an upstanding professional who knew his way around Cincinnati and could help us out. But things started going wrong pretty quickly. At our biggest gig ever, he didn't show up until the third day of the festival. He brought his assistant along to do most of the work and told us privately that he had thrown her into the mix to see if she would sink or swim. Basically, he was testing a new assistant and using our careers to do it. And we hardly saw her at all."

Over the next six months, the new manager only found the band one paying gig. He told the band they just weren't marketable. Despite such alleged unpopularity, Goins was able to book several paying gigs for the band on his own. But he didn't realize how truly damaging the new rep was until the band's invitation to perform at the 2005 Midpoint Music Festival was abruptly withdrawn. Bypassing his manager, Goins made his own phone calls to find out why. He learned that word of his manager's unprofessional tactics had spread like wildfire.

"Our management actually went through the offices of venues we were playing and took office supplies like they owned the place," Goins says. "They kept badgering anyone who would listen, just being annoying, and even trying to turn people against each other. Our biggest client in Indianapolis told us that they would not have us back next year if they were still our managers."

Needless to say, they weren't the managers for much longer. And Goins is trying to find representation that comes as close as possible to the manager who had helped them so much in the beginning.

"I miss him," Goins says. "He got us great gigs, paid us at the gigs, took photos, and made us look great."

And there's the key to a good manager: Someone who wants to make the artist look great. Period. That very quality is what's missing from the lazy manager, the bully, and the swaggering backstage loudmouth. They've forgotten that the motivation to get into music management is supposed to be the love of music. They're supposed to be content to be in the background, doing everything they can to give the artist the spotlight and make them look good in it. When they succeed, they should want to give public credit to the artist while taking personal satisfaction in a job well done.

Goins still laments over the damage done during his band's six months of bad management. But in many cases, it can be undone. Especially with the press. I have been contacted directly by bands who have apologized for their manager's tactics and asked if they can submit CDs and deal with me directly. My answer is always yes.

And while good managers may be hard to find, they are out there. Indie-Music.com may have banned three of them, but we have dealt with literally hundreds of reps, from all over the world, who are professional, courteous, and genuinely excited about the bands they represent. They follow submission guidelines, respond promptly to emails, and send thank-you notes when good reviews are published.

When you do take a chance and hire one of them, don't wait six months to find out if they're really working for you. Listen to how they sound on the phone. Find out where they're sending press kits, and contact a couple of the editors and venue owners on your own to find out what kind of impression they are making. (If it's a bad one, don't worry, you'll get an earful.)

Look at your schedule. Are they getting you gigs? Are you getting paid? If not, are they telling you that your music just isn't marketable? If they truly feel that way about your music, why in the world are you paying them?

A little bit of detective work in the beginning can save your band a damaged career in the long run. If you've found management that gets you results, you can relax and focus on basking in the spotlight they're working hard to make you look good in.

Jennifer Layton fell into indie music writing completely by accident. (When first asked to review CDs for Indie-Music.com in 1999, she had no idea what indie music was.) Since then, she has written hundreds of articles and CD reviews for Indie-Music.com, as well as bios for individual artists. She has also contributed articles to IndyMonkey, Shock Value Webzine, The American Reporter Online, The Cary News, Raleigh's Spectator Magazine, GoGirlsMusic.com, and Independent Musician Magazine. She has represented Indie-Music.com as a judge at the Six String Shoot-Out and at the North Carolina Songwriters Competition. Despite repeated listenings, intricate sentence diagramming, and expensive psychotherapy, she still cannot for the life of her understand the plot to the 1973 Vicki Lawrence song "The Night The Lights Went Out In Georgia." Visit her on the web at www.jenniferlayton.com

Goodbye 2005

2006-01-01T02:20:00.000-05:00

It's over...

Did you achieve all of the music business goals that you set for yourself?

If not, you may find it helpful to write everything down next year. That will improve your success dramatically.

Setting Goals:

I can read your mind. You’re thinking, “Oh no! Not another talk about the virtues of goal setting. I’m sick of hearing about it!” My question to you is, do you have written goals?

Most people don’t have a plan of written goals and most people aren’t successful, happy, or doing what they want in life. Decide right now that you are going to be different. Decide that you are going to be successful. Goal setting is a necessary component for your success.

Well defined goals keep you on track and motivated when the times get tough. And, there will be tough, tough times. Goals will help keep you fired up and working towards your dream.

"Success" is often defined as the progressive realization of a worthwhile goal. If you are doing the things that are moving you toward the attainment of your goal today, then you are "successful" even if you are not there yet. It's the goal that starts the whole journey.

An illuminating study on goal setting sponsored by the Ford Foundation found that,

23% of the population has no idea what they want from life and as a result they don't have much.
67% of the population has a general idea of what they want but they don't have any plans for how to get it.
Only 10% of the population has specific, well-defined goals, but even then, 7 out of the 10 of those people reach their goals only half the time.
The top 3%, however, achieved their goals 89% of the time.

What accounts for the dramatic difference between that top 3% and the others? Are you ready?: the top 3% wrote down their goals. It can be that simple! Dreams and wishes are not goals until they are written as specific end results on paper. In some very real sense, writing them down materializes them. Goals have been described as "dreams with a deadline". Written, specific goals provide direction and focus to our activities. They become a road map to follow. And the mind tends to follow what's in front of it.

After you have set your goals FIRST CHOICE MANAGEMENT can develop an action plan* for achieving them. Some people have great goals. They get all fired up but never take action to achieve them. Your action plan simply “chunks down” the necessary steps you are going to have to take to reach your goal.

If your ready to move up to the top 3% contact me at martin@firstchoiceonline.com